Lord Dufferin; Helen's Tower—Scotland; Visit to Lady Ashburton—Letters to Miss Blagden—St.-Aubin; The Franco-Prussian War—'Herve Riel'—Letter to Mr. G. M. Smith—'Balaustion's Adventure'; 'Prince Hohenstiel-Schwangau'—'Fifine at the Fair'—Mistaken Theories of Mr. Browning's Work—St.-Aubin; 'Red Cotton Nightcap Country'.
From 1869 to 1871 Mr. Browning published nothing; but in April 1870 he wrote the sonnet called 'Helen's Tower', a beautiful tribute to the memory of Helen, mother of Lord Dufferin, suggested by the memorial tower which her son was erecting to her on his estate at Clandeboye. The sonnet appeared in 1883, in the 'Pall Mall Gazette', and was reprinted in 1886, in 'Sonnets of the Century', edited by Mr. Sharp; and again in the fifth part of the Browning Society's 'Papers'; but it is still I think sufficiently little known to justify its reproduction.
Who hears of Helen's Tower may dream perchance
How the Greek Beauty from the Scaean Gate
Gazed on old friends unanimous in hate,
Death-doom'd because of her fair countenance.
Hearts would leap otherwise at thy advance,
Lady, to whom this Tower is consecrate!
Like hers, thy face once made all eyes elate,
Yet, unlike hers, was bless'd by every glance.
The Tower of Hate is outworn, far and strange;
A transitory shame of long ago;
It dies into the sand from which it sprang;
But thine, Love's rock-built Tower, shall fear no change.
God's self laid stable earth's foundations so,
When all the morning-stars together sang.
April 26, 1870.
Lord Dufferin is a warm admirer of Mr. Browning's genius. He also held him in strong personal regard.
In the summer of 1869 the poet, with his sister and son, changed the manner of his holiday, by joining Mr. Story and his family in a tour in Scotland, and a visit to Louisa, Lady Ashburton, at Loch Luichart Lodge; but in the August of 1870 he was again in the primitive atmosphere of a French fishing village, though one which had little to recommend it but the society of a friend; it was M. Milsand's St.-Aubin. He had written, February 24, to Miss Blagden, under the one inspiration which naturally recurred in his correspondence with her.
'. . . So you, too, think of Naples for an eventual resting-place! Yes, that is the proper basking-ground for "bright and aged snakes." Florence would be irritating, and, on the whole, insufferable—Yet I never hear of any one going thither but my heart is twitched. There is a good, charming, little singing German lady, Miss Regan, who told me the other day that she was just about revisiting her aunt, Madame Sabatier, whom you may know, or know of—and I felt as if I should immensely like to glide, for a long summer-day through the streets and between the old stone-walls,—unseen come and unheard go—perhaps by some miracle, I shall do so—and look up at Villa Brichieri as Arnold's Gypsy-Scholar gave one wistful look at "the line of festal light in Christ Church Hall," before he went to sleep in some forgotten grange. . . . I am so glad I can be comfortable in your comfort. I fancy exactly how you feel and see how you live: it is the Villa Geddes of old days, I find. I well remember the fine view from the upper room—that looking down the steep hill, by the side of which runs the road you describe—that path was always my preferred walk, for its shortness (abruptness) and the fine old wall to your left (from the Villa) which is overgrown with weeds and wild flowers—violets and ground-ivy, I remember. Oh, me! to find myself some late sunshiny Sunday afternoon, with my face turned to Florence—"ten minutes to the gate, ten minutes home!" I think I should fairly end it all on the spot. . . .'
He writes again from St.-Aubin, August 19, 1870:
'Dearest Isa,—Your letter came prosperously to this little wild place, where we have been, Sarianna and myself, just a week. Milsand lives in a cottage with a nice bit of garden, two steps off, and we occupy another of the most primitive kind on the sea-shore—which shore is a good sandy stretch for miles and miles on either side. I don't think we were ever quite so thoroughly washed by the sea-air from all quarters as here—the weather is fine, and we do well enough. The sadness of the war and its consequences go far to paralyse all our pleasure, however. . . .
'Well, you are at Siena—one of the places I love best to remember. You are returned—or I would ask you to tell me how the Villa Alberti wears, and if the fig-tree behind the house is green and strong yet. I have a pen-and-ink drawing of it, dated and signed the last day Ba was ever there—"my fig tree—" she used to sit under it, reading and writing. Nine years, or ten rather, since then! Poor old Landor's oak, too, and his cottage, ought not to be forgotten. Exactly opposite this house,—just over the way of the water,—shines every night the light-house of Havre—a place I know well, and love very moderately: but it always gives me a thrill as I see afar, exactly a particular spot which I was at along with her. At this moment, I see the white streak of the phare in the sun, from the window where I write and I think. . . . Milsand went to Paris last week, just before we arrived, to transport his valuables to a safer place than his house, which is near the fortifications. He is filled with as much despondency as can be—while the old dear and perfect kindness remains. I never knew or shall know his like among men. . . .'
The war did more than sadden Mr. and Miss Browning's visit to St.-Aubin; it opposed unlooked-for difficulties to their return home. They had remained, unconscious of the impending danger, till Sedan had been taken, the Emperor's downfall proclaimed, and the country suddenly placed in a state of siege. One morning M. Milsand came to them in anxious haste, and insisted on their starting that very day. An order, he said, had been issued that no native should leave the country, and it only needed some unusually thick-headed Maire for Mr. Browning to be arrested as a runaway Frenchman or a Prussian spy. The usual passenger boats from Calais and Boulogne no longer ran; but there was, he believed, a chance of their finding one at Havre. They acted on this warning, and discovered its wisdom in the various hindrances which they found on their way. Everywhere the horses had been requisitioned for the war. The boat on which they had relied to take them down the river to Caen had been stopped that very morning; and when they reached the railroad they were told that the Prussians would be at the other end before night. At last they arrived at Honfleur, where they found an English vessel which was about to convey cattle to Southampton; and in this, setting out at midnight, they made their passage to England.
Some words addressed to Miss Blagden, written I believe in 1871, once more strike a touching familiar note.
'. . . But no, dearest Isa. The simple truth is that she was the poet, and I the clever person by comparison—remember her limited experience of all kinds, and what she made of it. Remember on the other hand, how my uninterrupted health and strength and practice with the world have helped me. . . .'
'Balaustion's Adventure' and 'Prince Hohenstiel-Schwangau' were published, respectively, in August and December 1871. They had been preceded in the March of the same year by a ballad, 'Herve Riel', afterwards reprinted in the 'Pacchiarotto' volume, and which Mr. Browning now sold to the 'Cornhill Magazine' for the benefit of the French sufferers by the war.
The circumstances of this little transaction, unique in Mr. Browning's experience, are set forth in the following letter:
Feb. 4, '71.
'My dear Smith,—I want to give something to the people in Paris, and can afford so very little just now, that I am forced upon an expedient. Will you buy of me that poem which poor Simeon praised in a letter you saw, and which I like better than most things I have done of late?—Buy,—I mean,—the right of printing it in the Pall Mall and, if you please, the Cornhill also,—the copyright remaining with me. You remember you wanted to print it in the Cornhill, and I was obstinate: there is hardly any occasion on which I should be otherwise, if the printing any poem of mine in a magazine were purely for my own sake: so, any liberality you exercise will not be drawn into a precedent against you. I fancy this is a case in which one may handsomely puff one's own ware, and I venture to call my verses good for once. I send them to you directly, because expedition will render whatever I contribute more valuable: for when you make up your mind as to how liberally I shall be enabled to give, you must send me a cheque and I will send the same as the "Product of a Poem"—so that your light will shine deservedly. Now, begin proceedings by reading the poem to Mrs. Smith,—by whose judgment I will cheerfully be bound; and, with her approval, second my endeavour as best you can. Would,—for the love of France,—that this were a "Song of a Wren"—then should the guineas equal the lines; as it is, do what you safely may for the song of a Robin—Browning—who is yours very truly, into the bargain.
'P.S. The copy is so clear and careful that you might, with a good Reader, print it on Monday, nor need my help for corrections: I shall however be always at home, and ready at a moment's notice: return the copy, if you please, as I promised it to my son long ago.'
Mr. Smith gave him 100 guineas as the price of the poem.
He wrote concerning the two longer poems, first probably at the close of this year, and again in January 1872, to Miss Blagden.
'. . . By this time you have got my little book ('Hohenstiel') and seen for yourself whether I make the best or worst of the case. I think, in the main, he meant to do what I say, and, but for weakness,—grown more apparent in his last years than formerly,—would have done what I say he did not.* I thought badly of him at the beginning of his career, et pour cause: better afterward, on the strength of the promises he made, and gave indications of intending to redeem. I think him very weak in the last miserable year. At his worst I prefer him to Thiers' best. I am told my little thing is succeeding—sold 1,400 in the first five days, and before any notice appeared. I remember that the year I made the little rough sketch in Rome, '60, my account for the last six months with Chapman was—nil, not one copy disposed of! . . .
* This phrase is a little misleading.
'. . . I am glad you like what the editor of the Edinburgh calls my eulogium on the second empire,—which it is not, any more than what another wiseacre affirms it to be "a scandalous attack on the old constant friend of England"—it is just what I imagine the man might, if he pleased, say for himself.'
Mr. Browning continues:
'Spite of my ailments and bewailments I have just all but finished another poem of quite another kind, which shall amuse you in the spring, I hope! I don't go sound asleep at all events. 'Balaustion'—the second edition is in the press I think I told you. 2,500 in five months, is a good sale for the likes of me. But I met Henry Taylor (of Artevelde) two days ago at dinner, and he said he had never gained anything by his books, which surely is a shame—I mean, if no buyers mean no readers. . . .'
'Prince Hohenstiel-Schwangau' was written in Scotland, where Mr. Browning was the guest of Mr. Ernest Benzon: having left his sister to the care of M. and Madame Milsand at St.-Aubin. The ailment he speaks of consisted, I believe, of a severe cold. Another of the occurrences of 1871 was Mr. Browning's election as Life Governor of the London University.
A passage from a letter dated March 30, '72, bears striking testimony to the constant warmth of his affections.
'. . . The misfortune, which I did not guess when I accepted the invitation, is that I shall lose some of the last days of Milsand, who has been here for the last month: no words can express the love I have for him, you know. He is increasingly precious to me. . . . Waring came back the other day, after thirty years' absence, the same as ever,—nearly. He has been Prime Minister at New Zealand for a year and a half, but gets tired, and returns home with a poem.'*
* 'Ranolf and Amohia'.
This is my last extract from the correspondence with Miss Blagden. Her death closed it altogether within the year.
It is difficult to infer from letters, however intimate, the dominant state of the writer's mind: most of all to do so in Mr. Browning's case, from such passages of his correspondence as circumstances allow me to quote. Letters written in intimacy, and to the same friend, often express a recurrent mood, a revived set of associations, which for the moment destroys the habitual balance of feeling. The same effect is sometimes produced in personal intercourse; and the more varied the life, the more versatile the nature, the more readily in either case will a lately unused spring of emotion well up at the passing touch. We may even fancy we read into the letters of 1870 that eerie, haunting sadness of a cherished memory from which, in spite of ourselves, life is bearing us away. We may also err in so doing. But literary creation, patiently carried on through a given period, is usually a fair reflection of the general moral and mental conditions under which it has taken place; and it would be hard to imagine from Mr. Browning's work during these last ten years that any but gracious influences had been operating upon his genius, any more disturbing element than the sense of privation and loss had entered into his inner life.
Some leaven of bitterness must, nevertheless, have been working within him, or he could never have produced that piece of perplexing cynicism, 'Fifine at the Fair'—the poem referred to as in progress in a letter to Miss Blagden, and which appeared in the spring of 1872. The disturbing cause had been also of long standing; for the deeper reactive processes of Mr. Browning's nature were as slow as its more superficial response was swift; and while 'Dramatis Personae', 'The Ring and the Book', and even 'Balaustion's Adventure', represented the gradually perfected substance of his poetic imagination, 'Fifine at the Fair' was as the froth thrown up by it during the prolonged simmering which was to leave it clear. The work displays the iridescent brightness as well as the occasional impurity of this froth-like character. Beauty and ugliness are, indeed, almost inseparable in the moral impression which it leaves upon us. The author has put forth a plea for self-indulgence with a much slighter attempt at dramatic disguise than his special pleadings generally assume; and while allowing circumstances to expose the sophistry of the position, and punish its attendant act, he does not sufficiently condemn it. But, in identifying himself for the moment with the conception of a Don Juan, he has infused into it a tenderness and a poetry with which the true type had very little in common, and which retard its dramatic development. Those who knew Mr. Browning, or who thoroughly know his work, may censure, regret, fail to understand 'Fifine at the Fair'; they will never in any important sense misconstrue it.
But it has been so misconstrued by an intelligent and not unsympathetic critic; and his construction may be endorsed by other persons in the present, and still more in the future, in whom the elements of a truer judgment are wanting. It seems, therefore, best to protest at once against the misjudgment, though in so doing I am claiming for it an attention which it may not seem to deserve. I allude to Mr. Mortimer's 'Note on Browning' in the 'Scottish Art Review' for December 1889. This note contains a summary of Mr. Browning's teaching, which it resolves into the moral equivalent of the doctrine of the conservation of force. Mr. Mortimer assumes for the purpose of his comparison that the exercise of force means necessarily moving on; and according to him Mr. Browning prescribes action at any price, even that of defying the restrictions of moral law. He thus, we are told, blames the lovers in 'The Statue and the Bust' for their failure to carry out what was an immoral intention; and, in the person of his 'Don Juan', defends a husband's claim to relieve the fixity of conjugal affection by varied adventure in the world of temporary loves: the result being 'the negation of that convention under which we habitually view life, but which for some reason or other breaks down when we have to face the problems of a Goethe, a Shelley, a Byron, or a Browning.'
Mr. Mortimer's generalization does not apply to 'The Statue and the Bust', since Mr. Browning has made it perfectly clear that, in this case, the intended act is postponed without reference to its morality, and simply in consequence of a weakness of will, which would have been as paralyzing to a good purpose as it was to the bad one; but it is not without superficial sanction in 'Fifine at the Fair'; and the part which the author allowed himself to play in it did him an injustice only to be measured by the inference which it has been made to support. There could be no mistake more ludicrous, were it less regrettable, than that of classing Mr. Browning, on moral grounds, with Byron or Shelley; even in the case of Goethe the analogy breaks down. The evidence of the foregoing pages has rendered all protest superfluous. But the suggested moral resemblance to the two English poets receives a striking comment in a fact of Mr. Browning's life which falls practically into the present period of our history: his withdrawal from Shelley of the devotion of more than forty years on account of an act of heartlessness towards his first wife which he held to have been proved against him.
The sweet and the bitter lay, indeed, very close to each other at the sources of Mr. Browning's inspiration. Both proceeded, in great measure, from his spiritual allegiance to the past—that past by which it was impossible that he should linger, but which he could not yet leave behind. The present came to him with friendly greeting. He was unconsciously, perhaps inevitably, unjust to what it brought. The injustice reacted upon himself, and developed by degrees into the cynical mood of fancy which became manifest in 'Fifine at the Fair'.
It is true that, in the light of this explanation, we see an effect very unlike its cause; but the chemistry of human emotion is like that of natural life. It will often form a compound in which neither of its constituents can be recognized. This perverse poem was the last as well as the first manifestation of an ungenial mood of Mr. Browning's mind. A slight exception may be made for some passages in 'Red Cotton Nightcap Country', and for one of the poems of the 'Pacchiarotto' volume; but otherwise no sign of moral or mental disturbance betrays itself in his subsequent work. The past and the present gradually assumed for him a more just relation to each other. He learned to meet life as it offered itself to him with a more frank recognition of its good gifts, a more grateful response to them. He grew happier, hence more genial, as the years advanced.
It was not without misgiving that Mr. Browning published 'Fifine at the Fair'; but many years were to pass before he realized the kind of criticism to which it had exposed him. The belief conveyed in the letter to Miss Blagden that what proceeds from a genuine inspiration is justified by it, combined with the indifference to public opinion which had been engendered in him by its long neglect, made him slow to anticipate the results of external judgment, even where he was in some degree prepared to endorse them. For his value as a poet, it was best so.
The August of 1872 and of 1873 again found him with his sister at St.-Aubin, and the earlier visit was an important one: since it supplied him with the materials of his next work, of which Miss Annie Thackeray, there also for a few days, suggested the title. The tragic drama which forms the subject of Mr. Browning's poem had been in great part enacted in the vicinity of St.-Aubin; and the case of disputed inheritance to which it had given rise was pending at that moment in the tribunals of Caen. The prevailing impression left on Miss Thackeray's mind by this primitive district was, she declared, that of white cotton nightcaps (the habitual headgear of the Normandy peasants). She engaged to write a story called 'White Cotton Nightcap Country'; and Mr. Browning's quick sense of both contrast and analogy inspired the introduction of this emblem of repose into his own picture of that peaceful, prosaic existence, and of the ghastly spiritual conflict to which it had served as background. He employed a good deal of perhaps strained ingenuity in the opening pages of the work, in making the white cap foreshadow the red, itself the symbol of liberty, and only indirectly connected with tragic events; and he would, I think, have emphasized the irony of circumstance in a manner more characteristic of himself, if he had laid his stress on the remoteness from 'the madding crowd', and repeated Miss Thackeray's title. There can, however, be no doubt that his poetic imagination, no less than his human insight, was amply vindicated by his treatment of the story.
On leaving St.-Aubin he spent a month at Fontainebleau, in a house situated on the outskirts of the forest; and here his principal indoor occupation was reading the Greek dramatists, especially Aeschylus, to whom he had returned with revived interest and curiosity. 'Red Cotton Nightcap Country' was not begun till his return to London in the later autumn. It was published in the early summer of 1873.
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